Latin music at SXSW 2025: Majo Aguilar, Grupo Frontera proudly rep música Mexicana

1:15 a.m.

It wasn’t that long ago that the six members of Grupo Frontera had transitioned from backyard parties to international stages. In the past few years, they’ve become seasoned performers, spending the last half of 2024 touring their sophomore album, “Jugando A Que No Pasa Nada.” So when they walked out to perform their headlining set at Billboard’s “The Stage” showcase, it felt like the group was effortlessly locked in.

Throughout most of the concert, vocalist Adelaido “Payo” Solís III, accordionist Juan Javier Cantú, and guitarist Alberto “Beto” Acosta moved dynamically around the stage, with percussionist Julian Pe?a Jr. occasionally coming down from the congas to hype up the crowd. It was clear the group was having a blast feeding off the crowd’s energy; on more than one occasion, Payo happily signed a few autographs and filmed videos on several phones, which were tossed onstage by fans between verses.

After their 2024 tour, Grupo Frontera released their EP “Mala Mía” with Fuerza Regida. The band used their SXSW set as an opportunity to perform some of those tracks for the first time, including “Coqueta.” But as their show came to a close, they brought out the big guns, singing “No Se Va,” the viral Morat cover that launched them to stardom — then closed with “Unx100to,” the Bad Bunny collaboration that earned them a Latin Grammy.

In a place like Austin, where it doesn’t always feel like the city celebrates or even acknowledges the impact of its Latino community, it was special to see not just a Latin act, but a group from the border spotlighted on such a prominent stage during the city’s biggest festival. In the final minutes of their show, streamers in the colors of the Mexican flag rained down over a sea of people singing along to every word in Spanish — a beautiful reminder that whether it’s always acknowledged or not, our music, our language, our people are a part of what makes Texas Texas.

12:30 a.m.

Instead of funneling more creative juice into the over-saturated markets of corridos tumbados and sad sierre?os, Damaris Bojor, a singer-songwriter from Hermosillo, Mexico, unveiled what very well could be Latin music’s next big movement: a fusion of American folk fusion and traditional Mexican campiranos. During her performance, she cited country-infused regional music by Miguel y Miguel as a big inspiration for her. (And we’d be remiss to forget the bluesy stylings of her fellow Hermosillo native, Carin León.)

As major popstars like Beyoncé and Chappell Roan incorporate a country twang into their sounds, and while música Mexicana continues to gain more and more traction in the U.S., Bojor happened to land on the intersection between North America’s two buzziest movements. With every whistle and twirl of her plaid skirt, the crowd embraced Bojor’s fresh fusion more and more.

11:00 p.m.

After her rousing Friday night performance at the Billboard showcase, there’s no doubt that Majo Aguilar was born to perform. The granddaughter of legendary Mexican singers Antonio Aguilar and Flor Silvestre, Majo has been carving out her own path in the world of mariachi and ranchera music, earning two Latin Grammy nominations for her album, “Mariachi y Tequila (Deluxe),” and more recently, by foraying into a more experimental, “mariachi tumbado” fusion sound ahead of her upcoming LP.

Onstage at the Moody Amphitheater, flanked by the Texan players of Mariachi Real del Valle, the singer appeared in a teal charro-style uniform with sparkly silver boots. She performed a string of original songs and covers that had the audience eating out of the palm of her hand. She also led a call and response with the crowd during her rendition of the heartbreaking bachata, “Hoja En Blanco,” then delivered a passionate cover of Juan Gabriel’s “Así Fue.” Yet it was her final song that brought the house down: a triumphant cover of Vicente Fernandez’s “El Rey.” If anyone had arrived unfamiliar with Aguilar, she had certainly made her mark by the time she left.

10:46 p.m.

With her electric guitar tightly strapped to her body, Vanessa Zamora played an enchanting fusion of heady psych rock and electro-pop at Vaquero Taquero on Friday night. The 33-year-old singer-songwriter worked the room alongside her drummer and saxophonist — it was almost as if they were letting the audience into a private, inner circle jam session. Zamora gave a special shoutout between songs to all the lesbians in the crowd, then dedicated one of her ballads to the moon, which had just eclipsed in the wee hours of the morning. Many fellow SXSW performers — including the members of Sultanes Del Yonke, as well as Midnight Navy and Edgar Alejandro — were present for her set, demonstrating her cred as a queen among Latin indie artists.

8:17 p.m.

Native Sun’s SXSW set lasted only 20 minutes, but it made for an intimate punk affair. The Brooklyn-based four-piece brought their garage-punk furor to Austin’s Hotel Vegas. During their last song, lead singer Danny Gomez loosened his microphone cord and leaned at the edge of the stage — with a longing look to jump into the crowd. He was met with enthusiastic devil horns from fans, but passed on the stage dive. Drummer Nico Espinosa pulled his own stunt by perching atop his seat while screaming alone and raising his drum above his head. Once the band’s tapered off, Gomez muttered a simple “thank you” and exited the stage. As patrons began to make their way out of the venue, whispers filled the air. A passerby said, “Are you kidding me? That was insane!” Another lingering fan exclaimed: “We have to see them again.”

Friday, 12:42 a.m.

Austin juke-joint C-Boy’s Heart & Soul was chock full of cowboys, cowgirls and cumbia lovers late Thursday night. Headlining was Adrian Quesada, the Grammy-winning guitarist of Black Pumas fame, who introduced his new band, Trio Asesino, on the first night of their spring U.S. tour. Quesada was preceded by L.A. native Rudy De Anda and his grungy tropical psych band, as well as Corpus Christi spinmaster El Dusty, who stoked the audience with hip-hop remixes of Grupo Kual? and Selena.

El Trio Asesino slinked through several funkedelic cumbia and soul numbers, with Quesada integrating classic rock n’ roll riffs by Link Wray. Quesada also ushered in songs from his outstanding 2022 record, Boleros Psicodélicos, including “Mentiras con Cari?o” and “Esclavo Y Amo” with guest vocalist Trish Toledo. Fans audibly gasped when, by surprise, Mireya Ramos, the Grammy-winning mariachi singer and violinist from Flor de Toloache, stepped up to perform the balada “Tus Tormentas.” Adorned in black silk and rhinestones, her voice soared high above the roaring crowd. “That’s it, South by Southwest is over!” declared Quesada. “Everybody go home! How are we supposed to play after that?”

11:46 p.m.

From every lyric he sang, to every breath he took, Ivan Cornejo’s raspy croons were barely audible over the ecstatic crowd. In the past few years, the Riverside-raised musician has built a dedicated fanbase with his moody approach to música Mexicana. Earlier in the day, his fans lined up for blocks outside of the downtown venue — awaiting a precious glimpse of the 20-year-old heartthrob.

Throughout his headlining set at the Rolling Stone showcase, the audience sang along religiously to every single heartbroken verse. He told the crowd how great they sounded, then thanked Rolling Stone for making him one of the few Mexican artists to grace the cover of its magazine. Although his setlist was almost exclusively comprised of somber music, the crowd’s excitement was enough to offset his dreary, yet beloved sound.

10:23 p.m.

Under the bright lights at the Rolling Stone “Future of Music” showcase, NSQK introduced himself to the audience formally as Rodrigo Torres. In an all-black outfit, complete with platform boots and dark shades, he patrolled the stage with a self-assured swagger. Fans in the front row let out enthusiastic screams as he passed them by. Born in Monterrey, Mexico and raised in Houston, the multi-faceted musician sang a variety of love ballads and dedicated a few tracks to his fiancé and other lucky couples in the crowd. Throughout the set, he switched seamlessly between hard-hitting club beats, gritty alt-rock melodies and requinto-powered corridos. Despite intimating to the crowd that he was feeling nervous, he could have had us all fooled until he ‘fessed up.

9:34 p.m.

The rich smell of yuca frita, platanos and other Caribbean delicacies filled the air at the Cuatro Gato restaurant, where Colombian siren Valé led a spirited punk pep rally. Backed by a live drummer, Sammy, Valé whipped her hair as she ripped through several reggaeton, club and spunky pop tracks. She wasn’t gonna carry the energy solo, though — the audience worked themselves into a sweat by following her marching orders to jump, scream and get down low to the floor. Valé commanded the room with the moxie of a cheer captain-turned-riot grrrl.

8:46 p.m.

Inside Austin’s historic Driskill hotel, Quelle Rox’s opened her first-ever SXSW show with a nervous energy. But with a sip of her margarita, the Brooklyn indie-pop singer peeled off her snake skin jacket and eased into a more confident groove onstage. She eventually brought up her best friend and fellow musician Andria Rose, for a duet; together they performed two ethereal Spanglish tracks and gushed over each other between songs. Rox joked that they could spend the whole set talking about how much they love each other. “It’s so rare to have a female friendship where we genuinely root for each other,” said Rose from the stage. “We are so lucky!”

8:20 p.m.

After DJ Riobamba warmed up the Moody Theater with her cosmopolitan grooves, skater pop queen Gale strutted onto the stage and instantly pumped up the volume. She treated the crowd at the Rolling Stone showcase to a live debut of her new indie pop-punk single, “Skittles” — a heart-rending song she wrote in memory of Ati, her first love, who tragically passed away. She chased the blues with her own take on Shakira’s 2023 song “Copa Vacia,” then rocked her way into her 2023 breakup jam, ”Nuestra Canción.” Before she exited the stage, however, it was imperative that the Puerto Rican starlet led the audience in a big, triumphant cry of “Wepaaaaa!”

Thursday, 1:30 a.m.

Under a Virgo full moon, soon to be a momentous eclipse, the Mexico City players of Sonido Gallo Negro led SXSW revelers into a psychedelic cumbia trance. The band took the stage at the KEXP showcase after midnight, drawing a full crowd into the backyard of Hotel Vegas. Vamps, punks, cowboys and hip music publicists alike shared space on the grass, dancing along as the band churned from groove to groove. The main character tonight was the theramin: an electronic instrument that emitted spooky howls when its player, Jorge “Dr. Alderete,” hovered his hands between its antennae.

11:37 p.m.

As soon as Mexican MC Calle 24 took the stage at the Mala Vida, he was greeted with high pitched screams, a sea of phone screens and a dense crowd of fans. Regaling fans with his audacious trap-corrido blend, the Fuerza Regida lyricist brought a vivacious energy to Austin. As he clutched a bottle of tequila throughout his set, murmurs of a potential appearance from J.O.P. — Jesus Ortiz Paz, Fuerza Regida’s frontman — surged through the crowd. Although J.O.P. didn’t show up, the 22-year-old musician still put on a memorable show of a similar caliber — an inventive take on the música Mexicana genre.

10:37 p.m.

At the small bar Vaquero Taco, singer Ximena Soto dominated the venue with her captivating presence. Even if the crowd was thin by SXSW standards, the people in attendance gave all of their attention to the Monterrey, Mexico-born singer. Bewitching the crowd with artfully autotuned vocals and bass-laden club tracks, Soto made for a unique take on contemporary dance pop. Behind her microbangs and bleached eyebrows, the chanteuse brought a casual yet alluring energy to an intimate performance.

10:20 p.m.

After being introduced three separate times, Sofía Reyes arrived fashionably late to her SXSW performance. Holding court from a vintage couch onstage, the 29-year-old singer cozied up enough to let the audience into her ocean of emotions. Sporting an earth-toned flowy skirt and knit shawl, the musician experimented with upbeat, EDM-based tracks using a small synthesizer, and also indulged the crowd melancholic break up songs.

When performing her collaboration with Becky G, “Mal de Amores,” she thanked the crowd for their energy — and conducted a tequila check among her fans. With a toast from the audience, she downed her own shot of tequila and coolly kept the show moving.

10:50 p.m.

What does it mean to be an “asesina” with a posh English accent?

Una doble asesina.

The London-born R&B singer-songwriter Sophie Castillo beckoned to all the baddies in the audience with suave reggaeton-inflected tracks, such as “Asesina” and “Diosa.” Brits of all stripes showed up to support the Cuban Colombian TikTok queen, including one audience member wearing a cowboy hat and a U.K. flag as a cape. “I’m excited to be representing Latinos all the way in the U.K. — and I’m so proud of what everyone in the community here’s doing,” she told the audience, before introducing a sleek “indie bachata” number, which she dubbed “Call Me By Your Name.”

9:40 p.m.

Toward the top of her set, cumbia singer Vanita Leo promised the crowd that while she might have a few sad songs for them, she was ultimately there to party. Hailing from San Antonio, the singer-songwriter showcased her expansive range, performing cumbia ballads and dances that had the crowd at the Volstead chanting her name by the end. Fittingly, she paid tribute to the “Cumbia Queen,” Selena Quintanilla, with a formidable cover of “Si Una Vez,” and wrapped things up with her latest single, “La Cumbia Wepa” — even stepping off her pedestal for a moment to sing and dance with her adoring public.

9:15 p.m.

Counting eight members in their group, it already felt like a celebration when Llamativa stepped out onstage at the Hotel Vegas patio on East 6th Street. Their blend of cumbia, Tejano, salsa and boleros combined each genre’s classic elements with modern lyrics that got the crowd dancing, spinning and twirling to lead singer Alicia Cintron’s powerful vocals.

9:47 pm

Onstage at Mala Vida, as part of the Warner Music showcase, Angelina Victoria said she couldn’t leave Texas without “singing a little Selena.” The Chicago-born música Mexicana singer thanked the Austin crowd and wished everyone a happy Women’s History Month before kicking off her tribute with a dramatized introduction to “Como La Flor.” As soon as her band started to play the recognizable chorus, the audience whipped out their phones to record, as couples began to partner up and slow dance. Hitting all of Quintanilla’s notes, her band transitioned to “Amor Prohibido,” and later “Baila Esta Cumbia.” Hearing the late Tejana star’s most popular songs in her home state was sure to be a crowdpleaser — Victoria played her cards right.

8:45 p.m.

Inside the Elysium on Red River Street, Blood Club summoned a convention of Los Darks. Ironclad post-punk songs from their 2024 “Lovesick” LP, bellowed in English and Spanish by frontman Jesse Flores, inspired the crowd to nod along in gloomy solidarity. But it was no funeral; propelled by the steely beats of a drum machine, a handful of goth sprites shimmied feverishly at the center of the dance floor.

Wednesday, 2:36 p.m.

The San Antonio-based cumbia group Volcán brought the spirit of a friendly competition to KEXP’s El Sonido showcase. The group’s conga player held a band tee above his head and called for the crowd’s best dancer to let loose during their next song.

The band’s 11 members took over every inch of the stage, highlighting just how many people are needed to make a cumbia. By the end of their set, the lead singer — the only member not wearing an all-white outfit — tossed a rolled up T-shirt into the crowd and apologized for his bad aim. Whether a member of the lively caught it or not, the energy never faltered.

Wednesday, 12:00 p.m.

There was no shortage of tributes to the Queen of Tejano at Austin’s Paramount Theatre on Wednesday afternoon. Whether it came in the form of red lipstick, gold hoops, graphic tees or even a handful of stage outfit recreations, it was clear that the audience was ready to celebrate at the screening of “Selena y Los Dinos,” the new documentary about the life and impact of Selena Quintanilla.

Using never-before-seen footage, photos, and interviews with Selena’s family and bandmates, director Isabel Castro paints a vivid portrait of the singer, not just as a predestined star, but as a sister, a friend, a daughter and a wife — one who was brimming with life and ambition.

Generations of fans traveled from across the state, some coming from San Antonio, Houston, or even Selena’s hometown of Corpus Christi to catch the Texas premiere. The anticipation in the room was palpable. The film first premiered earlier this year at the Sundance Film Festival in Park City, Utah, but as Castro told the crowd ahead of the screening, playing it here in Texas “[felt] like coming home.”

It was an emotional event, not only because Selena’s family and her former bandmates were in attendance, but because the film gave its viewers the opportunity to witness the singer’s meteoric rise all over again, this time with her voice.

“The fact that Selena is telling the story along with us is so powerful,” said her sister Suzette in a Q&A session after the screening.

Selena’s husband, Chris Perez, agreed. “I think the whole point [of making this film] is to see how great of a person Selena was — what she stood for, what she represented … in her own words.”

South by Southwest is an avenue for discovery, whether it’s music’s most promising up-and-comer, the latest technology or a soon-to-be award-winning film. But at the 2025 De Los showcase, the greatest takeaway was the value of community.

On Tuesday night, the Mala Fama rooftop in Austin, Texas, became a hub for live Latin music as six acts shared their own interpretations of the genre. From trap corrido originators Arsenal Efectivo to Conjunto Rienda Real’s signature norte?o sax, each performer paid tribute to their closest friends and professional peers — many of whom were invited to share the stage.

The showcase kicked off with a lively set from “El Techno” DJ Bolo. The San Diego-based entertainer spent his 30-minute set illuminating the connections between contemporary reggaeton and electronic music. He said he was particularly excited to play this show, not just because he’s performing at the same event as his best friend and collaborator, retro revivalist Edgar Alejandro, but because they are also sharing an Airbnb.

In addition to being a a DJ and producer, Bolo says he hopes to start a Latino-focused EDM label to help represent more rising talent in the growing subgenre.

(Cat Cardenas / For De Los)

2:25 a.m.

Sporting black sequins and leopard print, the San Luis Potosí ensemble carried a carefree dance party until 2 a.m. with their jazzy brand of norte?o sax. Lovers, goths and anime fans encircled each other to the frisky pace of the music, which occasionally detoured into rock ‘n’ roll territory; the band cleverly covered Julieta Venegas’ 2006 indie classic, “Me Voy,” prompting a sing-along from the ladies in attendance. Not even I, dear reader, could resist the allure of a norte?a dance with a friendly stranger. It was a family-style, rooftop asada at Mala Fama — sans the carne, but full of heart.

Wednesday, 12:51 a.m.

Led by singer Francisco “Shrek” Rodriguez, Arsenal Efectivo was the band that launched a thousand copycats who now record under the “trap corrido” label; on Tuesday night, they reminded Austin exactly who they’ve been since they dropped their influential 2015 EP, “Vida Peligrosa.” Swathed in a dense cloud of pot smoke, the band ambled through a series of hard gangster ballads. Glamorous buchonas in the front row took selfies with Shrek, who puffed on a joint and shouted “F— the feds!” He then ushered in his friend, San Antonio crooner Distinto, to sing a couple sad sierre?o-style songs; the band then closed the set with a haunting 2024 corrido, titled “Eternamente.” Shrek dubbed it “the first corrido with an Akai MPC synthesizer,” which — fun fact — was the same synth used by Kanye West in his 2004 album, “The College Dropout.”

11:55 p.m.

Have you ever wondered what the B-52’s would sound like if they were from a border town? No? Me neither. Hailing from El Paso and Ciudad Juarez, Sultanes Del Yonke, or, Sultans of the Junkyard, already showed promise when they sound-checked to the quirky ukelele music from “Spongebob Squarepants.” But they delivered on that promise at the De Los showcase with a series of absurdist cumbia-punk jams, inspiring fans to pogo and waltz in frenzied intervals. All bets were off once their chaotic drummer and vocalist, To?o Ramos, dropped his pants and bestowed the crowd with a cheeky full moon.

10:37 pm

Austin singer-songwriter Midnight Navy, born Francisco Jose Rosales, brought a sultry, alternative flair (along with many instruments) to the rooftop of Mala Fama. Fortified by a four-piece psychedelic band, Navy’s groovy take on the Chicano rock classic by Malo, “Suavecito,” prompted the audience to join in singing and swaying to the beat. Navy volleyed between his keyboard, guitar and saxophone — and all the while, delivered soulful vocals in English and Spanish. The crowd’s demands for an encore kept the band onstage for just one more number: a funky, mesmerizing rendition of Fito Olivares’ “Cumbia de La Cobra.” Magic filled the air as the audience became light on their feet.

10:10 p.m.

Blending touches of mariachi and jazz, TikTok crooner Edgar Alejandro brings a fresh new perspective to an old school sound. Onstage at Mala Fama, the Inland Empire-based musician beguiled the crowd in a meditative trance. With one sip of his beer, he ditched his acoustic guitar and called his friend, Bolo the DJ to join him onstage for an EDM interlude. A blaring house track swept the rooftop as Alejandro sang lyrics about an ex-lover — giving way to a freestyle solo from the trumpet player. Within a matter of minutes, Alejandro took his tear-jerking set and became a house vocalist.

Tuesday, 9:00 p.m.

L.A.-based club extraordinaire Bolo the DJ — a.k.a. Edgar Avalos — paused his reggaeton-EDM mega mix to raise a glass in celebration of his Tuesday night SXSW set, hosted by De Los. The crowd on the rooftop of Mala Fama came together for the toast, with the unifying chant: “Pa’rriba, pa’bajo; pal centro y pa’ dentro.” His lively set brought together remixes of Bad Bunny’s “DeB? TiRAR MáS FOToS,” sneak peaks of his own new music ... but above all, Latinos.

Tuesday 1:30 a.m.

Revelers gathered under the neon lights of the Coconut Club on Monday night, thirsty for reggaeton and ron de coco. Puerto Rican producer Caleb Calloway, renowned for his intrepid work on records by Feid, Rauw Alejandro, Alvaro Diaz and spun a medley of his own greatest hits (so far) — and pleased the crowd with a marathon of upbeat, 2000s perreo classics.

The Latin Grammy-winning DJ-producer Trooko took over the deck at 12:45am and turned it into his own personal laboratory; with the frenzied passion of a mad scientist, he mixed live, splicing his own tracks for Bad Bunny and Residente with currents of bhangra and chicha rhythms. A highlight: the moment when Trooko’s sandungueo mix met the jangling sample from Run DMC’s “Peter Piper,” cueing an impromptu break dance session on the dance floor.

Monday, 11:00 p.m.

Sometimes hearing Migos repeat the words “Hannah Montana” over and over again on top of a pulsing beat can be the warmest welcome.

As Joaqu.n played the Coconut Club’s La Subcultura showcase on Monday night, he found the ultimate intersection between contemporary rap and Latin beats. From JT’s “Okay” to Los Enanitos Verdes’ “Lamento Boliviano,” he was sure to also throw in the sounds of early reggaeton like “Pam Pam” by Wisin & Yandel. Atop the Austin rooftop bar, the night was still young and the crowd was growing by the minute.

Despite the thin chattering crowd, there was no lull in sight for the Venezuelan DJ — drawing on current hip hop like the chart topping Kendrick Lamar and Sza collaboration “Luther” and Sexyy Red’s “Get it Sexyy” over various cumbia beats. Like any other DJ, he was bordered by a few hype people nodding their head to every heavy bass drop. Surrounded by the angular skyscrapers of the city’s skyline, Joaqu.n’s modern blend of hip hop, old school reggaeton and touches of rock en espa?ol set the tone for the remainder of the night.

In 2024, De Los, the Latino-centric vertical of the Los Angeles Times, hosted an official showcase at the South by Southwest Music Festival in Austin, Texas, a multiday event that turns every nook and cranny in downtown into a makeshift stage. It was an intimate affair with a lineup that included the likes of Los Aptos, Pink Pablo and Bodine, all acts who recorded songs that made my list of most played tracks last year — a special shoutout to Pink Pablo’s “Perdimos el Control,” whose hook I hum at least once a day.

We had so much fun that we’re doing it again.

On Thursday, De Los announced via Instagram the list of acts performing at our upcoming showcase. While 2024’s lineup featured a sampling of various Latin music genres, this year’s selection of artists has a strong emphasis on música Mexicana, which has been dominating the streaming services over the last 12 months.

Now in its 37th year, South by Southwest, the annual arts and tech conference that runs March 7-15 in Austin, Texas, has no shortage of stellar Latin music acts on its roster.

On March 11, we at De Los will host our second annual SXSW showcase at Mala Fama. Arsenal Efectivo, Edgar Alejandro and Midnight Navy will star in the program, which you can find here.

In the meantime, below are 10 essential Latino performances we’ll be penciling into our schedule, listed in chronological order.